Tag Archives: Phoenix Concert

REVIEW: Evanescence, Spiritbox, & Nova Twins Deliver a Powerful Feminine Storm in Phoenix (7-15-26)

Jump to Photo Galleries

PHOENIX — On the dusty, windy night of July 15, 2026, two storms brewed in Phoenix: one from the desert’s monsoon season threatening dust and rain, and the other a lineup of powerhouse female vocalists taking over Talking Stick Resort Amphitheatre. Evanescence, a headliner needing no introduction to anyone who has listened to rock radio in the past 20 years, was supported by the ferocious Spiritbox and the electrifying Nova Twins. This was a millennial-fueled rock-girl dream lineup, mixing a legendary heavy hitter with two openers that have been making huge moves in the last decade. If there were any doubt about the draw, the lines wrapping around the venue for parking and entry made it undeniably clear.

Nova Twins

Nova Twins began their set as crowds were still wrapped around the venue and into the parking lot, but their sound carried well beyond the amphitheatre’s walls. They were impossible to ignore, even from the security lines. The duo may have been a familiar name for some, but for those unfamiliar, they wasted no time making a lasting impression. 

Amy Love of Nova Twins smiles at the microphone with a black electric guitar strapped across her body, both arms raised wide under red stage lighting, with a drum kit behind her
Amy Love, vocalist and guitarist of Nova Twins, throws her arms wide while commanding the stage at Talking Stick Resort Amphitheatre in Phoenix on July 15, 2026.
Photography: Mark Greenawalt © All Rights Reserved

Vocalist and guitarist Amy Love and bassist Georgia South delivered a fierce, tightly controlled performance, pairing heavy bass-driven distortion with a commanding stage presence. Even in the final portion of the set, their energy took hold and demanded full attention. Seated a few rows back from the stage, I relied on a colleague photographing the performance for a few of the finer visual details.

Nova Twins bassist Georgia South performs with an animated, open-mouthed expression while holding her bass upright under red stage lighting, with a drum kit behind her
Georgia South, bassist of Nova Twins, delivers an animated performance beneath red stage lighting in Phoenix.
Photography: Mark Greenawalt © All Rights Reserved

Touring drummer Jake Woodward was positioned off to the side while Love and South worked every inch of the stage available to them. Both utilized extensive pedalboards, along with a unique ring-controlled system that allowed for real-time manipulation of bass and synth effects. Their setup, paired with a more compact stage footprint, contrasted with the larger productions to follow, yet never felt lacking. 

Nova Twins touring drummer Jake Woodward performs behind a large drum kit, raising both drumsticks mid-strike beneath red stage lighting.
Jake Woodward, touring drummer for Nova Twins, strikes the kit with focused intensity beneath vivid red stage lighting.
Photography: Mark Greenawalt © All Rights Reserved

Before they finished their set, I already had them pulled up and added to my playlist. Their infectious, loud, fun, and impossible-to-ignore energy set the spark for a triple-stacked lineup packed with talent.

Spiritbox

As the set change began, the skies darkened and lightning flickered in the distance, setting the perfect scene as Spiritbox prepared to take the stage.

Red and white lights flashed as the band took their positions on stage. Vocalist Courtney LaPlante reached toward the sky before the drop into “Black Rainbow,” opening a twelve-song set featuring several tracks from their 2025 sophomore album, Tsunami Sea.

Courtney LaPlante stands at a microphone with both hands lifted high above her head and fingers spread, framed against a dark stage with faint purple lighting.
Courtney LaPlante, lead vocalist of Spiritbox, holds the audience’s attention with an expressive gesture and commanding presence at center stage.
Photography: Mark Greenawalt © All Rights Reserved

LaPlante carried a noticeably stronger confidence throughout the performance than when I’ve seen her before, sauntering around the microphone stand before stepping to face the crowd and unleashing her signature screams. 

Low-angle close-up of Courtney LaPlante singing into a microphone beneath deep blue lighting, one hand gripping the mic and the other resting on the stand as her long dark hair flows behind her
Courtney LaPlante, lead vocalist of Spiritbox, carries herself with assured control as the band’s set builds toward its heaviest moments.
Photography: Mark Greenawalt © All Rights Reserved

Throughout the set, LaPlante took moments to connect with the crowd, thanking them for sticking it out in the Phoenix heat and building anticipation for Evanescence. She told the audience that “Most of you have no idea what you’re about to see, but I think it’s going to be the best show you ever did see.” Before “The Void,” she took a moment to shout out Nova Twins, telling the crowd, “We love them, and this next song goes out to them.” 

Side-profile view of Courtney LaPlante singing at a microphone stand in an all-black outfit, with her long dark hair streaming dramatically behind her and red nails visible against the dim stage.
Courtney LaPlante, lead vocalist of Spiritbox, brings a fluid sense of motion and poise to the band’s dynamic performance.
Photography: Mark Greenawalt © All Rights Reserved

A mid-set break shifted the tone as LaPlante told the crowd, “We thank you for your time, and this is the part of the set where we dance,” building into “Sew Me Up,” with drumming and clapping pulling the crowd into the rhythm. Another playful moment came when LaPlante inducted the wind as the fifth member of the band, saying “it’s making us look really cool.” The way the gusts whipped through their hair and clothing added to the atmosphere in a way that felt like an intentional part of the show. 

Close-up of Mike Stringer playing a red guitar, his tattooed hand gripping the neck as warm stage light illuminates his face and a drummer appears softly blurred behind him.
Mike Stringer, guitarist of Spiritbox, channels focused intensity into the band’s tightly controlled performance.
Photography: Mark Greenawalt © All Rights Reserved

The playful energy of the show took a sharp turn after “Holy Roller” finished. The set was stopped due to a disturbance in the pit, spotted by drummer Zev Rose from his elevated platform which LaPlante referred to as him witnessing “the fuckery about”, prompting the band to halt the show. 

Zev Rosenberg sits behind an expansive drum kit, looking downward as cymbals surround him and an electronic percussion pad partially obscures his right side.
Zev Rosenberg, drummer of Spiritbox, drives the band’s intricate heaviness with concentration and precision.
Photography: Mark Greenawalt © All Rights Reserved

“We’re not going to play another song and this show is not going to continue til we make sure everybody out there is safe. So I need you guys to be tattletales – who’s the fucking freak who’s hurting everybody? Point them out.”  

When the crowd shouted the person had run off to the restroom, LaPlante responded “Well guess what fucker, we all saw you, we know where you are, and your ass is going to get kicked the fuck out.” 

The crowd began chanting “kick him out, kick him out” while LaPlante checked in on an audience member. The individual was escorted by security out of the venue to a chorus of boos. 

The band and crowd rallied after LaPlante reminded the audience to take care of one another then rolled into their final song, “Soft Spine.” Their performance balanced intensity, control, playfulness and a deep care for their fans.

View Spiritbox photo gallery below.

Evanescence

After a lengthy changeover that seemed to rebuild the entire set, Evanescence emerged to a dramatically transformed stage. The show was now framed by cathedral-like structures behind them, backlit in deep crimson, while smoke rolled across a newly slanted stage and drummer Will Hunt sat elevated at the center. From the moment they took the stage, the crowd was on its feet, with many remaining standing for the entirety of the set.

Emma Anzai plays a black bass beneath vivid red and magenta lighting, with tall cathedral-inspired arches glowing behind her and the drummer blurred in the distance.
Emma Anzai, bassist of Evanescence, brings a poised intensity to the band’s visually striking set.
Photography: Mark Greenawalt © All Rights Reserved

Opening with “Sanctuary,” the title track from their newly released album, they wasted no time establishing the tone for the night. Amy Lee stepped to the front of the stage with a presence that felt both commanding and beautiful, her voice cutting cleanly through the instruments. The set continued with the new album woven throughout the 21-song set, effectively playing it in full across the night. The sands of time have not dared to dull Evanescence’s flame.

Amy Lee sings into a handheld microphone while leaning backward, her long dark hair falling behind her against a softly lit purple and blue stage.
Amy Lee, lead vocalist of Evanescence, leans into a soaring vocal passage with palpable intensity.
Photography: Mark Greenawalt © All Rights Reserved

When the band shifted to “Going Under,” the energy surged, phones rose throughout the crowd as fans captured a treasured moment. The transition between older and new material was seamless, creating a setlist that moved fluidly across each era.

Amy Lee sings into a handheld microphone with her head tilted back, one arm extended and her long dark hair sweeping broadly to the side under red and purple stage lighting.
Amy Lee, lead vocalist of Evanescence, pairs vocal power with dramatic movement during the band’s performance.
Photography: Mark Greenawalt © All Rights Reserved

“Lithium” shifted the performance into an intimate space, with Lee seated at the piano under a cool white spotlight. The tone softened, but the emotional weight was heavy. That same intensity deepened during “Like You,” the one song from their second album release they had never played live prior to this tour. Lee’s voice soared above the distorted growls of the guitar, adding depth to her clarity.

Tim McCord plays an angular black electric guitar while leaning to one side in a black leather jacket and ripped jeans, illuminated by bright white and golden stage light.
Tim McCord, guitarist of Evanescence, reinforces the band’s sweeping sound with forceful, finely controlled playing.
Photography: Mark Greenawalt © All Rights Reserved

The production throughout the set elevated the experience above and beyond rock standards. Between massive screens, shifting visuals, and pyrotechnics, it felt surreal to be in the audience, part of this magic.

That atmosphere of magic carried into the night’s more personal moments, particularly when Lee addressed the crowd before “Forever Without You,” sharing that the next song was very personal to her:

“I wrote it about my life, my journey and me getting here but I realize how many people have been through something so similar so if the story I’m about to tell you, if some words that I say resonate with you and make you feel like you’ve been there before or you are there now please uh,” she laughed softly, “first of all, don’t be afraid. I know that’s easier said than done but second of all never regret love. I’m done regretting love! You’re not bad, you’re not stupid for loving someone. But you don’t have to stay.” She then promised, “It’s better on the other side.”

Her words hung in the air as she moved into the song, her voice deeply emotive as it danced with her piano accompaniment. Lee held notes with precision, sustaining them in a way that felt almost impossible for such a heavy and personal performance, drawing cheers of support from the audience.

Tight close-up of Amy Lee singing with her eyes closed and mouth open, vivid magenta eye makeup contrasting with her dark hair and black stagewear.
Amy Lee, lead vocalist of Evanescence, is captured in a moment of complete immersion at the microphone.
Photography: Mark Greenawalt © All Rights Reserved

That emotional weight quickly shifted into one of the most explosive moments of the night with their 2003 Grammy Award-winning debut single, “Bring Me to Life.” The entire venue came alive as the crowd sang along, matching the band’s energy. Everyone on and off stage was rocking out. Lee held out the iconic note on “dead” with striking control before calling on the audience to join her, hands raised as confetti rained down over the pit. Without pause, the band pushed forward into “Imaginary,” maintaining a level of stamina that never seemed to falter.

Amy Lee sings with her head tilted back, microphone raised above her mouth and one hand extended upward beneath soft white stage lights.
Amy Lee, lead vocalist of Evanescence, delivers an expressive performance with striking theatricality.
Photography: Mark Greenawalt © All Rights Reserved

A standout and favorite moment of the night came when Courtney LaPlante of Spiritbox, along with Amy Love and Georgia South of Nova Twins, joined Lee on stage for “Fight Like a Girl,” a track originally featuring K.Flay from the film Ballerina. The collaboration created what felt like a powerful, unified front at the edge of the stage, highlighting the strength of the female-fronted lineup. It’s hard not to want more from that combination.

“My Immortal” delivered one of the deepest, most nostalgic emotional moments of the night. The performance resonated throughout the crowd, bringing this millennial back to her teens, wiping away tears while watching Lee smile one of the biggest and most beautiful smiles of the night. She carried the moment with grace and sincerity.

Tight three-quarter close-up of Amy Lee singing into a black handheld microphone, her vivid pink eye makeup and long dark hair illuminated by warm yellow-green stage lights.
Amy Lee, lead vocalist of Evanescence, wears the song’s emotion openly, her expression conveying both vulnerability and resolve.
Photography: Mark Greenawalt © All Rights Reserved

The evening closed with “Wide Open Heart,” the band’s energy never fading as they pushed through the final moments of the set with the same intensity they opened with.

Will Hunt plays amid a large drum setup, his long blond hair falling across his face as cymbals frame him against a bright blue-and-white video backdrop.
Will Hunt, drummer of Evanescence, punctuates the closing stretch with an imposing presence from his elevated position.
Photography: Mark Greenawalt © All Rights Reserved

To call two-time Grammy Award-winning Evanescence and vocalist Amy Lee epic and legendary feels like only scratching the surface. The sheer force of the band, wielding their instruments like magicians time-traveling us through over two decades of beloved music, is an experience difficult to fully capture in words alone. Lee, alongside Emma Anzai, Will Hunt, Tim McCord, and Troy McLawhorn, delivered a performance that proves Evanescence continues to evolve while remaining exactly what fans have loved for decades and will continue to love for generations.

Photo Galleries

Photographer: Mark Greenawalt

View Separately

Photography © Mark Greenawalt.
All Rights Reserved

REVIEW: The Format at Crescent Ballroom Deliver Healing and Solidarity (1-24-26)

PHOENIX — For a band whose early work has become synonymous with mid‑2000s indie‑pop nostalgia, The Format proved they’re as essential as ever during a heartfelt mid‑day performance at Crescent Ballroom.

'Boycott Heaven' vinyl

Limited to fans who pre-ordered the new album Boycott Heaven, and originally planned as an intimate “in‑store” in the parking lot of Stinkweeds Records, the show was relocated due to weather concerns. The move indoors may have averted rain that never came – but it also meant missing out on a planned surprise rooftop performance, a Beatles‑style moment that would have overlooked the Stinkweeds lot and lived in Phoenix music lore.

Stinkweeds Records storefront in Phoenix, Arizona displaying The Format's Boycott Heaven album poster promoting the January 23, 2026 preorder.
Stinkweeds Records, where fans who pre-ordered Boycott Heaven by The Format were originally set to see an exclusive parking lot performance.

There was an unmistakable buzz in the room. With 500 fans packed into the sold‑out Crescent, the afternoon felt like a reunion of friends and kindred spirits. It marked the second of two Phoenix appearances, following an in‑store at Zia Records the day before. These homecoming events bookended the start of a limited run of shows, with additional stops planned in Long Beach, Seattle, and New York City.

Fans crowd into Crescent Ballroom in Phoenix ahead of The Format’s sold-out Boycott Heaven album release show on January 24, 2026.
A full house at Crescent Ballroom eagerly awaits The Format’s return to the stage for their second Phoenix album release performance.
Photography: Katherine Amy Vega © All Rights Reserved

Backed by original live members Don Raymond, Jr. on bass and Marko Buzard on guitar, along with Will Noon (of Ruess’ other band, fun.) on drums, Nate Ruess and Sam Means offered a performance that was honest, uplifting, and deeply connective.

Their bond with the crowd ran deep, bolstered by the band’s willingness to speak directly about the times. The Format make no secret of their views – and based on the crowd’s reaction, most were right there with them.

The Format perform live at Crescent Ballroom in Phoenix on January 24, 2026, with Nate Ruess on vocals during their Boycott Heaven album release show.
Nate Ruess leads The Format on stage at Crescent Ballroom, performing songs from their new album Boycott Heaven for a sold-out Phoenix crowd.
Photography: Katherine Amy Vega © All Rights Reserved

From the moment they launched into the soaring “Back To Life,” the band leaned into tracks from their long‑awaited new album, released just the day before on January 23. The setlist flowed naturally from the upbeat “Shot In The Dark” to the candid “Depressed” and “Right Where I Belong.”

Sam Means of The Format sings the opening lines of “Boycott Heaven” while playing guitar during the album release show at Crescent Ballroom in Phoenix.
Sam Means (multi-instrumentalist) takes the mic as The Format perform songs from Boycott Heaven.
Photography: Katherine Amy Vega © All Rights Reserved

Sam Means began the first verses of the title track “Boycott Heaven,” a special moment highlighting his occasional solo vocals, before Ruess belted, “It’s a long line / And it bleeds into the pavement / Sixty-something words to save them / From this recent misery,” stirring goosebumps throughout the room.

Nate Ruess performs with emotional intensity during The Format’s Boycott Heaven album release concert on January 24, 2026.
With expressive vocals and a powerful presence, Nate Ruess brings Boycott Heaven to life during The Format’s highly anticipated album release show.
Photography: Katherine Amy Vega © All Rights Reserved

During “Holy Roller,” the crowd softly sang along with a familiarity that seemed to call forth something rare and profound: a shared sense of energy and connection not felt in years. Since the song’s October 6, 2025 release (following its live debut at their first reunion show on September 27 at Arizona Veterans Memorial Coliseum), it has become something of an anthem – not just a song people recognize, but one people also feel deeply. The song’s message, a critique of passive faith that urges immediate action, felt all the more resonant given the times.

Boycott Heaven’s announcement, cover art (featuring a crystallized Virgin Mary sculpture by Australian artist Kyle Montgomery), and title stirred some controversy among religious fans. One commenter wrote, “Ugh I used to love your music. This picture of whom I’m assuming was Mary absolutely breaks my heart and infuriates me at the same time.” Another defended the band, saying, “Don’t always judge an album by its name or artwork… it could have a deeper meaning than any of you holy molys think.”

The Format perform live at Crescent Ballroom in Phoenix on January 24, 2026, for a sold-out crowd of dedicated fans during their Boycott Heaven album release show.
Wall-to-wall fans packed Crescent Ballroom for The Format’s album release – a testament to the dedication of their hometown supporters and the band’s lasting impact.
Photography: Katherine Amy Vega © All Rights Reserved

The Format have long served as a beacon for fans navigating dark times. In an era dominated by hyper‑independence and the disconnection caused by social media, their music offers something increasingly rare: community. Arizona’s local scene has been deeply impacted by the loss of figures like Stefan Pruett (Peachcake) in 2020 and Jonah Foree — known for his work in Ikonoklast, Goth Brooks, and HARDWIRE — in 2022. These were artists who brought two very different music communities together, and their absence is still felt. The return of The Format helps begin to fill that gap by re‑establishing the connective tissue that once held disparate music communities and cultures together.

Their new track “Shot In The Dark” seems to reference kintsugi – the Japanese art of repairing broken pottery with gold – with the lyric:

“Me and my friends, we used to fall apart / And piece ourselves back together like a work of art.

It’s an apt metaphor for the night itself.

Nate Ruess appears somber at the mic during The Format’s Boycott Heaven album release concert on January 24, 2026.
Nate Ruess had moments where he looked a bit somber as The Format begin their Boycott Heaven release show, foreshadowing the emotional depth of the performance ahead.
Photography: Katherine Amy Vega © All Rights Reserved

Ruess addressed the pain of the current moment in a powerful monologue before the encore, referencing a police shooting that had occurred earlier this day – the fatal shooting of 37‑year‑old Minneapolis ICU nurse Alex Pretti by federal officers. Visibly emotional, he told the crowd:

“It’s amazing just being here in Arizona for the release of this album… It’s great to play shows, and you make music, and… um… usually it’s like a good time, then sometimes you realize… just, awful fucking shit is happening, everywhere.” (Ruess makes a lengthy pause.)

“But uh… they fucking shot somebody again today. And…”

When a fan shouted, “FUCK ICE,” Ruess echoed it:

“Yeah, of course… fuck ICE… …everyone fucking thinks fuck ICE. FUCK them.”

“Anyways… they fucking shot somebody again and I can’t fucking take this shit anymore. I can’t take everything that’s going on in the fucking world. Nine fucking times. It’s hard to… it’s hard… it’s HARD to get up here and just have a straight face. Uh, you know… but at the same time, that’s what music is for. Sometimes it’s there to take us away from the fucking awful shit that’s fucking happening all around us.”

“We work hard, all of us, all of you work hard… you come to see a concert. Sometimes you come to get taken away from shit.”

That emotional release came in the form of the final song of the set – an unreleased track called “The Bar is Set So Low,” written a year ago but excluded from the album. The song’s somber lyrics cut deep:

“Get away, get away, get away cause the fear has gotten whole, and I’m struggling. / It’s a shame, it’s a shame, it’s a shame that the bar is set so low. / I’m caught under it.”

Despite its heaviness, the performance was filled with solidarity, especially when the crowd locked into the line:

“There is one goal. For all of our brothers, we must lighten the load.

That sentiment reflects something Ruess recently shared in an interview with Minnesota Public Radio’s station The Current: “Our goal as human beings is to lighten the load for our brother.”

The Format deliver both clarity and comfort, unafraid to speak hard truths while giving listeners something to hold onto.

In response to the new material, one Facebook group commenter summed it up simply:

Now that sounds like some classic Format.

The Format performing with high energy at Crescent Ballroom during their 2026 Phoenix show.
Vocalist Nate Ruess clutches his head in the heat of the moment while guitarist Marko Buzard thrashes beside him, Sam Means raises his guitar, and Don Raymond, Jr. sweeps across the stage – capturing The Format’s signature energy.
Photography: Katherine Amy Vega © All Rights Reserved

Thankfully, unlike The Beatles, this was not their final live performance together – just the beginning of something new. The Format’s return both satisfies nostalgia and reminds us what’s been missing. At Crescent Ballroom, they reawakened a feeling of joy, of belonging, of catharsis that many in the room hadn’t felt in years. And for a few unforgettable hours, it felt like we were all being pieced back together again.

View Setlist

Photo Gallery

REVIEW: Phoenix Lassoed in the Marquee Theatre Crowd with Their Electrifying Performance 6-13-17

TEMPE, Ariz. — Marquee Theatre was heated up by Phoenix’s electric performance on June 13th. Just four days earlier, Phoenix released their sixth studio album Ti Amo and played a few songs from it. It was an unusually cool night (well, as cool as Arizona in June can get), and everyone was lining up to enter into the venue. The atmosphere was filled with excitement as the Marquee was quickly filling up, and looked to be a nearly sold out show.

The venue seemed to be filled with mostly ages 21 and over, as many people had a drink in their hand as they watched the opening act, The Lemon Twigs, perform. The Lemon Twigs owned the stage with their vintage style and sound. Brothers Michael (Lead Vocalist/Guitarist) and Brian (Drummer/Backing Vocalist) D’Addario front the band; with Megan Zeankowski on bass, and Danny Ayala on keyboards/backing vocals. Michael D’Addario commanded the stage with his flare pants and teal shaggy hair. He did numerous high kicks into the air and had a reminiscent look and presence of Mick Jagger and Keith Richards combined. They played a song “Bay Baby”, which gave a 70s feel-good heartbreak vibe. The Lemon Twigs are about to take the music industry by storm, so make sure to check them out!

After a long anticipated wait, Phoenix walked onto stage and the crowd roared with excitement. They started with “Ti Amo”, the title-track of their newly released album Ti Amo. Next came “Lasso” which was met by a pleased crowd that cheered after hearing the first few seconds of the song.

"Thomas
Thomas Mars (Vocalist), Phoenix
Photographer: Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved.

Phoenix played “Entertainment”, and were immersed in an incredible light show during parts of the song. White lights created a curtain cover and our concert photographer, Katherine Amy Vega, described it as being like a holographic effect. The lighting really complemented the electric rock sound. Strobe lights of white, red, blue and yellow filled their set. During some songs, there was a rainbow lighting effect, which may have hinted to Phoenix’s support of the LGBTQ community during Pride Month.

"Phoenix
Phoenix
Photographer: Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved.

Phoenix seemed to have one of those awe-struck moments as the band paused after playing “Lisztomania”, and smiled at the crowd. During most of the set, balloons with a heart and “Ti Amo” printed on floated through the air amongst the crowd. The whole band put on an energized performance and played their part in creating a music loving atmosphere.

Christian Mazzalai (Guitarist), Phoenix - Photo Credit: Katherine Amy Vega
Christian Mazzalai (Guitarist), Phoenix
Photographer: Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved.

One of the most amazing intimate moments of the show was during the encore when Thomas Mars (Lead Vocalist), climbed off the stage and came to the barricade while singing a stripped-down version of “Countdown” to the crowd as guitarist Christian Mazzalai played on stage.

Phoenix played many fan favorites including “1901” and “Fior Di Latte”. The band took over the stage and created an exhilarating atmosphere. Constant dancing, singing along, cheering and pure happiness filled the venue. It was a concert where you couldn’t help but feel joy because the band projected their happiness and love for music onto the crowd.

Laurent Brancowitz (Guitarist), Phoenix - Photo Credit: Katherine Amy Vega
Laurent Brancowitz (Guitarist), Phoenix
Photographer: Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved.

To end the show, in the BEST way, Thomas Mars came off stage and joined the crowd in the final song “Ti Amo Di Piu”. He walked through the full crowd with his microphone connected to a glowing red cable that the crowd held up; and he said “Thank you!” over and over again, showing his gratitude to the loving fans. At one point he seemed to be hoisted on someone’s shoulders, possibly a fan, and said “Thank you!” again; followed by crowdsurfing back up to the stage . It was truly a moment no one will forget!

Phoenix put on an amazing performance that rocked the Marquee. Fans will definitely be awaiting the next time they come to Arizona!

Photo Album

Photographer: Katherine Amy Vega

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.